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Reinforcing Myths About Women in Philippine Culture 275 Mendoza / Reinforcing Myths About Women in Philippine Culture 275 REINFORCING MYTHS ABOUT WOMEN IN PHILIPPINE CULTURE Semiotic Analyses of the Sexbomb Girls in Eat Bulaga’s Laban o Bawi Trina Leah Mendoza University of the Philippines Los Baños [email protected] Abstract Movie and TV stars are an influential part of Philippine society. Not only do they entertain audiences with their television shows or movies, but their private lives and actions are arguably as interesting to the public. Celebrities and stars are admired, idolized, and looked up to by many of their followers, such that their values and actions can greatly influence their fans. However, their images may hold various meanings that are not evident to many people. This study analyzes a group of unconventional stars that changed the landscape of noontime viewing—the Sexbomb Girls—using a semiotic approach. It seeks to reveal the different images of women portrayed by the Sexbomb Girls, and understand how media can reinforce myths. The Sexbomb Girls were a social phenomenon and a product of production that depicted binary oppositions and metaphors: virgin/vamp, loud woman, and ordinary woman. These signs, binary oppositions, and metaphors served as myths that naturalized, influenced, and reinforced sexy female background dancers into becoming an ordinary part of noontime and game shows. Because they appeared six days a week in Eat Bulaga, the Sexbomb Girls have desensitized the Filipino masses such that seeing sexily clad background dancers in these shows has become ordinary and acceptable. Keywords binary oppositions; metaphors; semiotics; Sexbomb Girls; signs; social phenomenon Kritika Kultura 33/34 (2019/2020): 275–298 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Mendoza / Reinforcing Myths About Women in Philippine Culture 276 About the Author Trina Leah Mendoza is an assistant professor at the Department of Development Broadcasting and Telecommunication, College of Development Communication, University of the Philippines Los Baños (UPLB). She has degrees in BS Development Communication from UPLB, MA Media Studies (Broadcasting) from UP Diliman, and is currently finishing her PhD in Development Communication from UPLB. Before she started teaching at UPLB in 2014, Trina was a senior communication specialist at the International Rice Research Institute (IRRI), Los Baños, Laguna, and developed communication strategies and materials to promote best rice technologies and practices in Southeast Asia. She received the 2009 IRRI Award for Outstanding Research Support. Trina has also worked as a writer and editor at the Philippine Council for Agriculture, Aquatic and Natural Resources Research and as a writer and producer for MYX, ABS-CBN. Her research interests include development communication, science communication, media studies, community communication, participatory video, and pop culture. Kritika Kultura 33/34 (2019/2020): 276–298 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Mendoza / Reinforcing Myths About Women in Philippine Culture 277 INTRODUCTION In the Philippines, stars play a significant part in people’s lives. They not only provide entertainment through their latest movies, TV shows, or songs, but in many cases, their private lives attract more attention and interest from the Filipino audience. Many Filipino fans aspire to become like their favorite stars that they mimic their actions and fashion sense. The dream of fame and fortune has attracted many Filipinos, such that thousands queue in events organized by major TV networks in the hope of being chosen to join reality-based star searches, such as the television series, Starstruck created by GMA Network in 2003, and ABS-CBN’s Pinoy Big Brother, a local version of the Big Brother franchise, which was first aired in the Philippines in 2005. Social media has now made it even easier to gain access into a star’s everyday life, such that these stars’ opinions, values, and even the smallest details of their lives can influence thousands. Alongside with reality-based star quests were searches for background dancers to perform in noontime television shows such as Eat Bulaga, Magandang Tanghali Bayan, and Wowowee. The early 2000s witnessed the phenomenal rise of the Sexbomb Girls. The Sexbomb Girls started as background dancers in 2000, performing until 2011 in the noontime game show Eat Bulaga, the longest-running noontime show in the Philippines. They quickly moved past being background dancers in less than 5 years and became recording artists and lead stars in their own soap opera Daisy Siete (which aired for 7 years and lasted 26 seasons) (Parungao) and in their own movie, Bakit Papa? Their albumUnang Putok was a four-time platinum awardee, followed by three more hit albums—Wish ko sa Pasko, Round Two, and Bombthreat—making them one of the country’s best-selling female groups. From 2002 to 2008, they were awarded as the Most Popular Dance Group by the Guillermo Mendoza Memorial Scholarship Foundation (Parungao). They also endorsed several products such as Rev-X diesel and Crimson clothing line. The Sexbomb Girls’ songBilog na Hugis Itlog was used in an infomercial for the 2010 national elections (Catolico). Columnist and socialite Tim Yap compared the Sexbomb Girls to Dolphy, calling their success “a breakthrough for the local reality celebrity,” as they were among the first ones to shape the genre with their life stories told in primetime drama shows. They were also compared to England’s Spice Girls, who rose to fame in such a short time (Asuncion 46-52). Known for their seductive gyrations and skimpy clothing, the Sexbomb girls were said to be widely admired by men, women, and children, both young and old. Young children, both girls and boys, copied their dance steps during playtime and in school presentations and family gatherings. Yap believed them to be so iconic that he predicted that kids from that generation will look up to them in the same way that his generation looked up to the Bellestar Dancers of the past. In the context of Philippine media, the Sexbomb Girls have revolutionized the way Kritika Kultura 33/34 (2019/2020): 277–298 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Mendoza / Reinforcing Myths About Women in Philippine Culture 278 game shows and noontime shows are treated in the Philippines, such that these shows have since then added sexy female background dancers to their programs. Stars are not only entertainers; they are a social phenomenon (Dyer 6). Alberoni defined stars as a group of people who have very limited or non-existent institutional power, but whose way of life and actions attract considerable and sometimes, a maximum degree of interest (Dyer 7). Stars are very influential in representing people in society: how people are represented in media will influence (even if only to reinforce) how people are in society. They have privileged roles in defining social roles and types, which have real consequences in terms of how people believe they can or should behave (Dyer 7). The creation of stars is greatly influenced by texts which usually refer to messages that have been recorded in some way (through writing, audio- and video-recording, etc.) A text is a group of signs, such as images, words, sounds, and/or gestures that are constructed and interpreted with reference to the conventions associated with a genre and in a particular medium of communication (Chandler 2). According to Mitchell, it is very difficult to unearth the impressions, especially the depth and influence, brought upon by artists on the masses because of the various and yet interconnected notions of “picturing, imagining, perceiving, likening, and imitating” (1). The Sexbomb Girls can be considered as images or texts created by media companies—a phenomenon of production built using a large amount of money, time and energy in publicity, fan clubs, and promotion to build up their star images. These media texts projected many images, signs, symbols, meanings, and ideology (set of beliefs), which may or may not have been noticed by the regular Filipino viewer. Recent published studies have analyzed the images in media texts of various Philippine icons and their projected meanings and symbolisms. In his study of archetypes and Philippine epics, Cruz described Ninoy Aquino not only as a hero killed on a tarmac, but as a symbol for Filipinos tired of being taken advantage of and being lied to (207-216). The action films of Joseph Estrada “depicted characters in solidarity with and providing leadership for the masses” (Tolentino, “Masses, Power, and Gangsterism” 257-271). On the other hand, Judy Ann Santos’s portrayal of women in teleseryes depicted their strength despite adversity, their rise from the marginalized and oppressed to women of power, stature, and education (Sanchez 353). This study analyzes the images of a Philippine media phenomenon in the early 2000s—the Sexbomb Girls—according to social codes (bodily codes, commodity Kritika Kultura 33/34 (2019/2020): 278–298 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Mendoza / Reinforcing Myths About Women in Philippine Culture 279 codes, and verbal language), and textual codes, specifically, filmic techniques, using a semiotic approach (i.e., a study on their verbal and nonverbal signs). The study aims to (a) describe the social and textual codes in the images, (b) surface the denotative and connotative meanings in the codes, (c) examine the binary oppositions and metaphors depicted by their images, and (d) discuss other representations of women in Philippine media during the 2000s. This research further aims to show media’s capacity to create various meanings and symbolisms through their products. No similar study on the Sexbomb Girls has been published yet. METHODOLOGY The study adopts a qualitative approach, and thus focuses intensively on probing deeper into a particular phenomenon: the Sexbomb Girls. The focus of this qualitative approach is on the occurrence of its analytical objects in a particular context, and thus has no intention of going beyond its object of study.
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